Epoch dragonfly. Epoch Lacrosse Revolutionizes the Game with Next-Gen Dragonfly Shafts

How does Epoch Lacrosse’s new Dragonfly collection enhance player performance. What advanced technologies are incorporated in the Select, Pro, and Elite shafts. Why are these shafts considered a game-changer for lacrosse players at all levels.

Unveiling the Dragonfly Select, Pro, and Elite: A New Era in Lacrosse Technology

Epoch Lacrosse has once again pushed the boundaries of innovation with the introduction of their latest Dragonfly shaft collection. The Dragonfly Select, Pro, and Elite composite shafts represent a significant leap forward in lacrosse equipment technology, offering players a range of highly engineered options to elevate their game.

Since the debut of the original Dragonfly shaft in 2011, Epoch has consistently strived to provide players with cutting-edge equipment. The new collection builds upon this legacy, incorporating advanced technologies and materials to create shafts that cater to various playing styles and skill levels.

Key Features of the New Dragonfly Collection

• Advanced Carbon Layering (A.C.L)
• Surface Veil Technology (S.V.T)
• HD Resin
• Flex iQ Technology
• Player Profiles: Speed, Dynamic, and Power

These technologies work in harmony to deliver unparalleled performance, durability, and customization options for players. But how exactly do these features translate to on-field advantages?

The Science Behind Epoch’s Advanced Shaft Technologies

Epoch’s commitment to innovation is evident in the array of technologies incorporated into their Dragonfly shafts. Advanced Carbon Layering (A.C.L) allows engineers to fine-tune various aspects of shaft performance, including flex, durability, weight, and release point. This level of control ensures that each shaft can be optimized for specific playing styles and positions.

HD Resin technology enhances the mechanical strength of the shaft, improving overall durability while complementing other features like Flex iQ. This synergy between technologies results in a shaft that not only performs better but also stands up to the rigors of intense gameplay.

Understanding Flex iQ and Player Profiles

One of the most intriguing innovations in the new Dragonfly collection is the introduction of Player Profiles. These profiles – Speed, Dynamic, and Power – are designed to match specific playing styles and are closely tied to Epoch’s Flex iQ options.

For example, a Dragonfly Elite Attack/Midfield shaft with a Speed Profile would feature an iQ9 Flex. This configuration offers exceptional control for players who rely on quick releases when shooting, dodging, and passing. But what benefits do these profiles offer to different types of players?

Tailoring Performance: How Player Profiles Enhance Individual Playstyles

The integration of Player Profiles into the Dragonfly shaft lineup represents a significant step towards personalized equipment in lacrosse. By offering Speed, Dynamic, and Power profiles, Epoch allows players to select a shaft that aligns perfectly with their on-field approach.

• Speed Profile: Ideal for quick, agile players who prioritize rapid ball movement and precise shots
• Dynamic Profile: Suited for versatile players who need a balance of power and control
• Power Profile: Designed for players who rely on forceful shots and strong checks

These profiles work in tandem with the Flex iQ options to create a shaft that feels like an extension of the player’s body. But how does this level of customization impact a player’s performance in real-game situations?

From Pro to Amateur: Dragonfly Shafts for Every Level of Play

Epoch’s commitment to innovation extends beyond just the professional ranks. The new Dragonfly collection offers options for players at all levels, from elite athletes to emerging talents. This approach ensures that every player can experience the benefits of advanced lacrosse technology.

Pricing Options for Various Skill Levels

• Dragonfly Select 30″: $99.99 MSRP
• Dragonfly Pro Attack/Mid: $119.99 MSRP
• Dragonfly Pro Defense/LSM 60″: $179.99 MSRP
• Dragonfly Pro Goalie: $129.99 MSRP
• Dragonfly Elite Attack/Mid/Faceoff: $139.99 MSRP
• Dragonfly Elite Goalie: $144.99 MSRP
• Dragonfly Elite Defense/LSM: $199.99 MSRP

By offering their elite technologies at different price points, Epoch ensures that players of all backgrounds can access high-quality equipment. But how does this accessibility impact the overall growth and development of the sport?

Professional Endorsement: The PLL Connection

The Dragonfly Select, Pro, and Elite shafts have already made waves in the professional lacrosse world. These shafts were rigorously tested during the 2019 season of the Premier Lacrosse League (PLL), ensuring their quality and consistency at the highest level of play.

Matt Rambo, an Epoch athlete and attackman for the PLL’s Whipsnakes, has praised the new Dragonfly collection, stating, “They look fantastic, their technology is amazing, and the shafts have without a doubt increased my performance on the field.” This endorsement from a top-tier player underscores the impact these shafts can have on an athlete’s game.

The Impact of Professional Testing on Product Development

The involvement of professional players in the testing and development process of the Dragonfly shafts has several benefits:

1. Real-world performance data
2. Insights into the needs of elite players
3. Validation of new technologies and features
4. Continuous improvement based on player feedback

This collaboration between Epoch and professional athletes ensures that the Dragonfly shafts meet the exacting standards of the sport’s top performers. But how does this professional-grade technology translate to benefits for amateur and youth players?

The Dragonfly Select: Advanced Technology at an Accessible Price Point

The Dragonfly Select Attack/Mid shaft represents Epoch’s commitment to bringing advanced lacrosse technology to a wider audience. Priced at $99.99 MSRP, this shaft offers many of the core technologies found in the Pro and Elite models, making it an excellent option for players looking to upgrade their equipment without breaking the bank.

Key Features of the Dragonfly Select

• Advanced Carbon Layering (A.C.L) for optimized performance
• HD Resin for enhanced durability
• iQ5 Flex for balanced control and power
• Lightweight design for improved maneuverability
• Traditional Concave (C30) geometry

The Dragonfly Select demonstrates that high-quality, technologically advanced equipment doesn’t have to come with a premium price tag. But how does this accessibility to advanced technology impact player development at lower levels of the sport?

Revolutionizing Player Development: The Long-Term Impact of Advanced Shaft Technology

The introduction of the Dragonfly Select, Pro, and Elite shafts has the potential to revolutionize player development across all levels of lacrosse. By providing access to advanced technologies at various price points, Epoch is enabling players to improve their skills and performance regardless of their current level or budget.

Benefits of Advanced Shaft Technology for Player Development

1. Improved ball control and shooting accuracy
2. Enhanced feel and responsiveness
3. Increased confidence in equipment performance
4. Ability to customize equipment to playing style
5. Exposure to professional-grade technology at an earlier stage

These benefits can accelerate skill development and potentially raise the overall level of play across the sport. But what impact might this have on the future of lacrosse as a whole?

As players at all levels gain access to advanced shaft technology, we may see a shift in how the game is played. The increased precision and control offered by these shafts could lead to more dynamic offensive strategies and tighter defensive play. Additionally, the customization options provided by the Player Profiles and Flex iQ technology may encourage players to develop more specialized playing styles, further diversifying the sport.

The Dragonfly Select, Pro, and Elite shafts represent more than just new products; they embody a vision for the future of lacrosse. By combining cutting-edge technology with accessibility, Epoch Lacrosse is not only enhancing individual player performance but also contributing to the evolution of the sport as a whole.

As these advanced shafts become more prevalent at all levels of play, from youth leagues to professional competitions, we may witness a new era of lacrosse characterized by higher skill ceilings, more nuanced strategies, and even greater athleticism. The Dragonfly collection could very well be the catalyst that propels lacrosse into its next phase of growth and popularity.

In conclusion, Epoch Lacrosse’s new Dragonfly shaft collection represents a significant leap forward in lacrosse equipment technology. By offering advanced features at various price points, Epoch is democratizing access to high-performance gear and potentially reshaping the future of the sport. As players continue to adopt and adapt to these innovative shafts, we can expect to see exciting developments in playing styles, strategies, and overall skill levels across all tiers of lacrosse competition.

Epoch Lacrosse Introduces Next Generation of Dragonfly Shafts: The Dragonfly Select, Pro, Elite

MINNEAPOLIS— Epoch Lacrosse, a U.S. based design and technology company, has once again set the bar for lacrosse technology and innovation. For 2020, they introduce their new Dragonfly Select, Dragonfly Pro, and Dragonfly Elite composite shafts. This gives players not just one, but a collection of highly engineered shafts never before seen in the sport of lacrosse.

Since the introduction of the first Dragonfly shaft in 2011, Epoch’s number one goal has always been to give players the most innovative and technologically advanced equipment on the planet. The new Dragonfly Select, Pro, and Elite shafts are engineered with the most cutting-edge technology right here in the USA at Epoch’s very own manufacturing facility, allowing Epoch to give players the quality and consistency they deserve.

Epoch is proud to offer their elite collection of Dragonfly Shafts at a price point for every athlete. The Dragonfly Select 30” is priced at $99.99 MSRP, the Dragonfly Pro Attack/Mid is priced at $119.99 MSRP, the Dragonfly Pro Defense/LSM 60” is priced at $179.99 MSRP, the Dragonfly Pro Goalie is priced at $129.99 MSRP, the Dragonfly Elite Attack/Mid/Faceoff is priced at $139.99 MSRP, the Dragonfly Elite Goalie is priced at $144.99, the Dragonfly Elite Defense/LSM is priced at $199.99.

“We are incredibly excited about our newest collection of Dragonfly shafts,” said James Miceli, Principal at Epoch Lacrosse. “The Dragonfly line has consistently led the industry with its unrivaled carbon fiber technology and the Dragonfly Select, Pro, and Elite shafts only build on that incredible success while continuing to provide the very best in performance to athletes throughout the country.”

The Dragonfly Select, Pro, and Elite use a vast portfolio of Epoch technologies, that were all tested in the Premiere Lacrosse League (PLL) for the 2019 season to ensure highest quality and consistency. Used by the best athletes in the world, these shafts are engineered to improve player performance.

“The new Dragonfly Select, Pro, and Elite are the best shafts I’ve used,” said Matt Rambo, Epoch Athlete, attackman for the Premier Lacrosse League (PLL) Whipsnakes and 2019 regular season points leading scorer. “They look fantastic, their technology is amazing, and the shafts have without a doubt increased my performance on the field.”

Each Dragonfly Select, Pro, and Elite Shaft features Epoch specific technologies such as Advanced Carbon Layering (A.C.L), Surface Veil Technology (S.V.T), HD Resin, Flex iQ Technology and more. New for 2019, Epoch introduces Player Profiles for each shaft; Speed, Dynamic, and Power. These player profiles are designed for a specific style of play in relation to Flex iQ options.

For instance, the new Dragonfly Elite Attack/Midfield shaft with a Speed Profile would have an iQ9 Flex which offers exceptional control for players who want to break through the limits of performance. These players rely on a quick release when shooting, dodging, and passing to make tight finishes. To learn more about each of these new player profiles and how they relate to Flex iQ, go to epochlacrosse.com

“With this new collection of Dragonfly shafts, we wanted to provide players with an elite shaft at every level,” said Ryan Hurley, Senior Director of Sales and Partner at Epoch Lacrosse. “Using the experience, we’ve gained as innovators with past generations of Dragonfly shafts, we were able to push our existing technologies further and pioneer completely new ones.”

Epoch has introduced their high-level technologies at different price points for consumers to ensure that every player can get an elite level Dragonfly Shaft. See the Buyer’s Guide Below to find your perfect Dragonfly.

BUYER’S GUIDE: DRAGONFLY SELECT, PRO, ELITE

Dragonfly Select
The Dragonfly Select Attack/Mid is the ideal shaft for offensive-minded players who want versatility on the field. Engineered with Epoch’s core technologies and also being one of the lightest shafts on the market, it offers the benefits of the Dragonfly Pro and Elite at a remarkable value. The technology you get includes Epoch’s carbon fiber composite with Advanced Carbon Layering (A.C.L) that allows engineers to control several aspects of the shaft’s performance like flex, durability, weight, and release point. HD Resin enhances the mechanical strength of the shaft to give you improved durability while also adding direct benefits to other tech, like Flex iQ, in the shaft.

C30 – Traditional Concave Geometry. Most popular. 

Product Features:
Positions: Attack/ Midfield
Length: 30”
Geometry: Available in C
Material: Composite/Carbon Fiber

MSRP:
30” – $100 MSRP

Flex iQ:
30” – iQ5

Topcoat: Slip/Grip
Release Point: Uniform
Technology Platform: A.C.L. Select
HD Resin: Yes
Toughness Level: 1
Warranty: 3-Months
Available in Naked Carbon
Made in USA

Dragonfly Pro

The Dragonfly Pro Attack/Mid is the best shaft for high-performing athletes. Offered in 2 distinct Flex iQ’s and multiple geometries and boasting more of Epoch’s proprietary technologies, it makes for one unforgettable shaft. The technology you get with the Dragonfly Pro includes HD Resin, Advanced Carbon Layering (A.C.L), Surface Veil Technology (S.V.T) and Reload Technology for durability and performance. S.V.T increases the overall “toughness” of the shaft by acting as an additional layer of protection to prevent microfractures. Reload Technology takes advantage of flexing carbon fibers, ensuring maximum recoil and velocity.

The Epoch Dragonfly has a legacy of innovation on the defensive end of the field and the Dragonfly Pro Defensive/LSM continues that lineage. From advanced technology to unmatched performance, the Pro gives Defense the ultimate edge on the field. The Dragonfly Pro is designed and engineered for the best defensive player. Made in the USA, this defensive shaft is packed full of Epoch technology.  Dragonfly Pro Defense/LSM is available in C, E, X and engineered with Epoch’s A. C.L Pro. Additionally, it features S.V.T, HD Resin, Reload Technology and available in a Flex iQ8.

The Epoch Dragonfly C40 has made a mark in goalie innovation and the Dragonfly Pro continues that lineage. The Dragonfly Pro C40 is designed and engineered for the best goalies making the save and getting the ball up field. Made in the USA this Dragonfly is packed full of Epoch Technology.  Dragonfly Pro C40 is available in a C geometry and engineered with Epoch’s A.C.L Pro. Additionally, it features S.V.T, Reload Technology and available in a Flex iQ3

C – Traditional Concave Geometry. Most popular. 
E – Ergonomic Geometry. Ultimate Control.
X – Xtreme Concave Geometry. Exceptional Feel

Product Features:
Positions: Attack/ Midfield, Goalie, Defense/LSM
Length: 30”, 40”, 60” 
Geometry: Available in C, E, X (Goalie, C shape only)
Material: Composite/Carbon Fiber

MSRP:
30” – $120 MSRP
40” – $130 MSRP
60” – $180 MSRP

Flex iQ:
30” – iQ5 & 9
60” – iQ8
40” – iQ3

Topcoat: Slip/Grip
Release Point: Uniform
Technology Platform: A. C.L. Pro
Torque Box Pro: Yes
HD Resin: Yes
S.V.T: Yes
Reload Technology Yes
Toughness Level: 2
Warranty: 6-Months
Available in Naked Carbon
Made in USA

Dragonfly Elite
The Dragonfly Elite Attack/Midfield offers exceptional control for players who want to break through the limits of performance. The highest-level offering from the new Dragonfly line with innovative Intelligent Weave technology, this shaft is designed for the elite player. The technology you get includes Epoch’s Advanced Carbon Layering (A.C.L), HD Resin, Surface Veil Technology (S.V.T) and Reload Technology to increase durability and control certain aspects of performance like flex and release point. Unique to the Dragonfly Elite is Epoch’s Intelligent Weave Elite, designed to stabilize the hands and push energy towards the head of the stick when passing or shooting, maximizing performance.

The Dragonfly Elite Defense/LSM Shaft is raising the bar on design and engineering. Designed for the elite players on the defensive side and the highest-level athletes, the Dragonfly 60” Elite is a must-have for any high-level defenders. Engineered with A.C.L Elite using some of the best materials on Earth. The Dragonfly Elite Defense/LSM is available in a C, E, X geometry, Flex iQ’s 3, 5(Xl Version), and 8.

From groundbreaking innovation to exceptional control when making saves, the Dragonfly Elite is breaking through the limits of performance for goalies. Designed for the elite Goalies on the field and elite level athletes controlling the defense, the Dragonfly Elite C40 is an essential piece of equipment. Engineered with A.C.L Elite using some of the best materials on Earth. The Dragonfly Goalie is available in a C geometry and Flex iQ3.

C – Traditional Concave Geometry. Most popular. 
E – Ergonomic Geometry. Ultimate Control.
X – Xtreme Concave Geometry. Exceptional Feel

Product Features:
Positions: Attack/ Midfield, Goalie, Defense/LSM
Length: 30”, 40”, 60”, 60”XL
Geometry: Available in C, E, X (Goalie, C shape only) (60”XL, C shape only)
Material: Composite/Carbon Fiber

MSRP:
30” – $140 MSRP
30” XL – $140 MSRP
40” – $150 MSRP
60” – $200 MSRP
60” XL – $200 MSRP

Flex iQ:
30” – iQ2, iQ5, iQ9, iQ3(Faceoff only), iQ4(C30XL Only)
60” – iQ3, iQ8, iQ2(C60XL Only)
40” – iQ3

Topcoat: Slip/Grip
Release Point: Uniform
Technology Platform: A. C.L. Elite
Torque Box Elite: Yes
HD Resin: Yes
S.V.T: Yes
Reload Technology: Yes
Intelligent Weave Elite: Yes
Toughness Level: 3
Warranty: 12-Months
Available in Naked Carbon
Made in USA

To learn more about Epoch Lacrosse, please visit www.epochlacrosse.com and follow the brand on Instagram, Facebook, and Twitter.

ABOUT EPOCH LACROSSE:
Epoch Lacrosse is a U.S. design and technology company committed to exclusively creating the highest-performing lacrosse equipment made and manufactured in the U.S. Through its innovation lab in Minneapolis, Epoch Lacrosse incorporates high-tech practices into its production including 3D printing and utilizing carbon fiber. In addition to Epoch Lacrosse’s use of technology, the design of their heads, shafts and gear customization is leading the lacrosse industry and are growing in popularity among players – including their ground breaking Purpose 15-Degree Women’s head, Epoch bespoke for personal gear customization, and the Dragonfly Nine, its brand-new shaft for elite lacrosse players.  

Epoch Dragonfly Eight 8 C30 iQ9 Gold Composite Attack Lacrosse Shaft

Epoch Dragonfly Eight 8 C30 iQ9 Gold Composite Attack Lacrosse Shaft – Stylin Strings

Epoch Dragonfly Eight 8 C30 iQ9 Gold Composite Attack Lacrosse Shaft
EPOCH
<p>The newest Dragonfly has arrived. Performance, power and toughness are taking over the game. The 2018 Dragonfly Eight with Surface Veil technology (SVT) is more than just your new gamer, it’s your chance to elevate your game to the next level. The Dragonfly Eight is one of the lightest carbon fiber shafts on the market, while still being dent resistant, extremely durable and backed by Epoch’s industry-best 1-year warranty. Best of all, it is designed and manufactured right here is the USA.</p>
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SHAFT-EPC-DRAG-C30
SHAFT-EPC-DRAG-C30

99.99
Stylin Strings Lacrosse
https://stylinstrings.com/Item/SHAFT-EPC-DRAG-C30

This item is in stock and ready to ship. We will ship this item within 24 hours following your order.

Ordering from StylinStrings is easy. Follow these instructions for info on how to send a head in to StylinStrings, and how to build a complete custom lacrosse stick using our store.

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Epoch Dragonfly Eight 8 C30 iQ9 Gold Composite Attack Lacrosse Shaft

The newest Dragonfly has arrived. Performance, power and toughness are taking over the game. The 2018 Dragonfly Eight with Surface Veil technology (SVT) is more than just your new gamer, it’s your chance to elevate your game to the next level. The Dragonfly Eight is one of the lightest carbon fiber shafts on the market, while still being dent resistant, extremely durable and backed by Epoch’s industry-best 1-year warranty. Best of all, it is designed and manufactured right here is the USA.

Receive an in stock email notification for this item as soon as it becomes available.

Epoch Dragonfly C30 iQ5 Men’s Lacrosse Shaft Black

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Discovery of very red bodies in the asteroid belt that resemble trans-Neptunian objects

Figure 1:　203 Pompeja and 269 Justitia spectra. Horizontal axis marks wavelength, while the vertical axis shows the reflectance intensity, normalised to that at a wavelength of 0.55 microns. Longer wavelengths have a higher intensity, which is said to be more “red.” If the intensity decreases with lengthening wavelength, the spectra is said to become more “blue.” Credit: Hasegawa et al. 2021

Two asteroids (203 Pompeja and 269 Justitia) have been discovered with a redder spectrum than any other object in the asteroid belt between Mars and Jupiter. The discovery was led by HASEGAWA Sunao, Associate Senior Researcher at ISAS JAXA, with an international team of researchers from MIT, the University of Hawai’i, Seoul National University, Kyoto University and the Laboratoire d’Astrophysique de Marseille

These two asteroids have a steeper spectral slope than the D-type asteroids, which were thought to be the reddest objects in the asteroid belt. Rather, their spectra resembles that of trans-Neptunian objects and Centaurs in the outer solar system that have a very red spectrum.

Spectroscopic observations suggest the presence of complex organic matter on the surface of these asteroids. It is possible that these objects were formed near the outer edge of the solar system and migrated to the asteroid belt during the early stages of the solar system’s formation. This discovery therefore provides new evidence that planetesimals formed at the outer edge of the solar system have moved to the asteroid belt within Jupiter’s orbit.

The results of this research were published in the Astrophysical Journal Letters, an academic journal of the American Astronomical Society (AAS), on July 26, 2021.

Background

The internal structure of a large planet such as the Earth is differentiated into the core, mantle and crust. However, such differentiated bodies that lost most of the information about their formation prior to differentiation that occurred during the early stages of solar system formation. For information about that era, we need to examine undifferentiated (primitive) objects. Some meteorites that have landed on the Earth are thought to have been ejected from primitive minor bodies such as asteroids. Ordinary chondrite meteorites and carbonaceous chondrite meteorites are typical examples. Ordinary chondrites are thought to have been derived from celestial bodies that were formed in the inner region of the solar system, within the water ice snow line, while carbonaceous chondrites are thought to have been formed in the outer region past the water ice snow line.

It is known that such primitive objects occupy most of the asteroid belt (between 2.1 to 3.3 astronomical units, AU) that sits in the solar system between Mars (at 1.5 au) and Jupiter (5.2 au). Asteroids that correspond to the ordinary chondrite meteorites on Earth are called S-type asteroids, and a sample from a member of this S-type class, asteroid 25143 Itokawa, was returned to Earth by the Hayabusa (MUSES-C). The asteroids thought to correspond to carbonaceous chondrites meteorites are known as C-type asteroids and the sample from asteroid 162173 Ryugu returned by the Hayabusa2 spacecraft is an example of this asteroid class.

The distribution of S/C type asteroids within the asteroid belt have a large proportion of S-type asteroids in the inner part of the asteroid belt, while the proportion of C-type asteroid increases towards the outer edge. This arrangement is expected, but it is not a “sharp” distribution, but rather “blurred.” The observation of this distribution is considered to be evidence that asteroids have moved in a radial direction through the solar system and mixed during the formation of the asteroid belt we see today.

Further out into the solar system are the D-type asteroids. Just outside the asteroid belt are a group of small bodies known as the Cybeles (3. 3 to 3.7 au), which predominantly consist of D-type asteroids. D-type asteroids also form half the population of objects in the more distant Hilda group (3.7—4.2 au) and that of the Jupiter Trojans (around 5.2 au). The Tagish Lake meteorite is considered a D-type-related meteorite and its analysis suggests it is the most primitive of the carbonaceous chondrites. D-type asteroids are also known to have a spectra similar to that of comets, which are known to contain a lot of volatile components such as water and carbon dioxide. Judging from the Tagish meteorite analysis and comet observation results, it is thought that D-type asteroids were formed beyond the carbon dioxide snow line, where carbon dioxide formed solid particles (as well as water ice).

Looking towards the outer edge of the solar system around Neptune, there are many trans-Neptunian and Centaur objects that resemble the asteroids of the asteroid belt. Some of these objects have come within the vicinity of the Earth as comets, but the question has remained as to whether there are any objects in the asteroid belt that have migrated from further away where the D-type asteroids were formed during the early stages of the formation of the solar system.

Research results

In the asteroid belt, asteroids with sizes over ~100 km in diameter are generally considered to have avoided catastrophic destruction and are thought to be the surviving population of the planetesimals that formed early in the formation of the solar system. Our international research team therefore conducted a spectroscopic survey of asteroids with diameters of ~100 km or more in the asteroid belt to acquire near-infrared spectroscopic data for objects which have no previously obtained observational data in order to uncover the distribution the planetesimals and the composition of such objects during the formation of the asteroid belt.

In the spectroscopic survey, we discovered that 203 Pompeja, with a diameter of 110 km, has a spectrum redder than even that of the D-type asteroids (Figure 1). Furthermore, examination of past observations revealed that 269 Justitia, with a diameter of 55 km and whose very red spectrum had been previously recorded, has a redness similar to that of 203 Pompeja (Fig. 1).

In the left-hand figure, the typical spectra of currently known Near-Earth asteroids, asteroid belt asteroids and Trojan asteroids which are dark asteroids with an albedo (absolute reflectance) of 0.1 or less is compared with the spectra of 203 Pompeja and 269 Justitia. Asteroid 162173 Ryugu is a C-type asteroid, while Bennu (destination of NASA’s OSIRIS-REx mission) is a B-type. D-type asteroids have the reddest spectra of the asteroids and are abundant in the Trojan population. You can see that 203 Pompeja and 269 Justitia are redder than even the reddest D-type asteroid.

Figure 2:　Evolution of the Solar System. Created in reference to Neveu & Vernazza, 2019 and DeMeo & Carry, 2014. Credit: NASA, JAXA

The figure on the right is a comparison of the dark icy moons, Centaurs and outer edge solar system objects with albedo of 0.1 or less, with 203 Pompeja and 269 Justitia.It can be seen that 203 Pompeja and 269 Justitia have similar spectra to these trans-Neptunian objects.

Asteroids with a very red spectrum, such as 203 Pompeja and 269 Justitia, have not previously been found in the asteroid belt, Cybele, Hilda or Jupiter Trojan groups. But as we look at the outer edge of the solar system, these distant celestial bodies and Centaurs are known to have similar or even redder spectra. The spectroscopic comparison revealed that 203 Pompeja and 269 Justitia share similar spectral characteristics with the outer solar system celestial bodies and those of the Centaurs (Fig. 1).

Previous studies have pointed to the surfaces of the trans-Neptunian objects and Centaurs, which have a redder spectra than the D-type asteroids, being covered with complex organic matter. These two objects in the asteroid belt may therefore also be covered with organic matter.

Scientific significance of this research

The surface of trans-Neptunian objects and Centaurs are covered with complex organics, which are thought to be produced from simple organic compounds such as methane and methanol ice.

On the other hand, the analysis of meteorites thought to correspond to the D-type asteroids suggests that D-type asteroids formed further out than the carbon dioxide snow line.

The three snow lines related to this work are the water ice snow line, the carbon dioxide snow line and the organic compound snow line, and are located steadily further from the sun in this order.

Let’s now look at the evolution of planetesimals from the perspective of the solar system formation model. In the classical solar system formation model, the planets did not move from their location during the early stages of formation to the present day. However, more recent models suggest that the movement of planets such as Jupiter in the early solar system caused the gravitational field to shift and mixing to occur.

Combining the idea of the snow lines with the latest solar system formation model, the following can be supposed:

• D-type asteroids are formed in the inner region of the solar system, compared to those asteroids that have a very red spectrum. As a result of planetary migration, a number of these D-type asteroids end up in the range between the asteroid belt and the Trojan group.
• Asteroids with a very red spectra, which share an origin with outer solar system bodies and the Centaurs, are formed further out than the D-type asteroids. They are therefore less numerous in the region between the asteroid belt and Trojan group.

The distribution of asteroids within the asteroid belt show that asteroids with a very red spectra are much less common than D-type asteroids (Figure 2). This is consistent with the location of the snow lines combined with the latest solar system formation model, and is supporting evidence for this model of solar system formation.

Asteroid 162173 Ryugu, from which Hayabusa2 returned a sample, is a C-type asteroid and thought to have formed outside the water ice snow line before moving to a position closer to the Earth (Fig. 2).

However, asteroids 203 Pompeja and 269 Justitia that were discovered here are thought to have been formed near the outer edge of the solar system beyond the distant organic snow line and then moved to the asteroid belt during the early epoch of the solar system’s formation (Fig. 2).

By exploring these kinds of objects, it is highly possible that information regarding the outer regions of the solar system beyond the organic compound snow line during the solar system’s formation can be obtained without having to travel to the outer edge of the solar system. This is worth considering as candidate destination mission targets in the future.

What did the solar system look like before all the planets migrated?

More information:
Sunao Hasegawa et al, Discovery of Two TNO-like Bodies in the Asteroid Belt, The Astrophysical Journal Letters (2021). DOI: 10.3847/2041-8213/ac0f05

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Discovery of very red bodies in the asteroid belt that resemble trans-Neptunian objects (2021, August 2)
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What size was the prehistoric dragonfly

Unsolved mysteries of evolution haunt humanity to this day. Many of its stages remain not fully understood, for example, how the animals that lived on the planet millions of years ago actually looked like.

None other than nature itself helps a person to solve such a difficult task. In pieces of amber, which are the fossilized resin of ancient coniferous trees, the remains of ancient insects, preserved in their original form, are often found.Only in such specimens it is unlikely that it will be possible to find a mega-neura, one of the largest insects of all time.

© Outpost North-West / Mining Museum

Until now, the mystery of the disappearance of dragonflies with a wingspan of almost a meter has not been solved. According to one version, earlier there was much more oxygen in the atmosphere and the supply of insect tissues with it was more efficient in comparison with modern conditions. This feature allowed the mega-maneuvers to reach such large sizes. Over time, the percentage of oxygen in the air changed, which led to the gradual extinction of these species.

© Outpost North-West / Mining Museum

Already in the Jurassic period, known primarily as the dawn of the era of the dinosaurs, dragonflies could not boast of great parameters. However, this did not stop the American science fiction writer John Michael Crichton from writing a novel featuring two giant red insects with two-meter wings. In the story, insects, along with dinosaurs, inhabited a mysterious island off the coast of Costa Rica, bought by a millionaire scientist to create an amusement park with wild animals.In 1993, Steven Spielberg directed the film of the same name based on the book.

© Outpost North-West / Mining Museum

In reality, the size of the dinosaurs the same age barely reached ten centimeters. Their appearance was no longer so different from modern representatives of the species. It is about such a dragonfly that is written in one of the oldest surviving literary works in the world “The Epic of Gilgamesh”, created before our era on the basis of Sumerian legends. In it, the insect is mentioned as an example of the impossibility of immortality and an illustration of the brevity of human life.This idea was later brought to life by Ivan Krylov in his fable “The Dragonfly and the Ant”.

Oh, so you …

I sang a whole summer without a soul.

Did you sing everything? This is the case:

So go and dance!

A dragonfly embodying the image of a person approaching the end of his life and having lived it not at all as he would like to try to bargain with fate, which in the person of an ant makes a firm verdict about the inevitability of death.

Small dragonfly sets range record

The famous butterfly Danaida Monarch ( Danaus plexippus ) will have to give up the title of the record holder among insects in terms of flight range. In their annual migrations, these butterflies fly up to 8,000 kilometers, while, according to new data, dragonfly Pantala flavescens travels from 14,000 to 18,000 kilometers.

A modest-looking dragonfly, no more than four and a half centimeters long, has long claimed another title – the world’s most widespread dragonfly.Its range includes most of Africa and South America, Central America, the eastern United States, a significant part of Asia, and Australia. She is found on the remote islands of the Pacific Ocean, on Easter Island she is the only representative of dragonflies. Occasionally dragonflies Pantala flavescens fly to the south of Europe, although dry winds of the Sahara usually serve as an obstacle for them.

Spread of dragonfly Pantala flavescens

Scientists suspect that dragonflies of this species represent a single population covering most of the world.A recent genetic study has confirmed this assumption. Its authors analyzed the genomes of dragonflies caught in the Americas, as well as Asia, and found that even individuals living in regions as far apart as Texas and India have strikingly similar genetic profiles. This means that dragonflies have to travel considerable distances to find mating partners. The love of this species for long flights was known before.Dragonflies Pantala flavescens even unite in large “flocks”, using warm humid winds for long-distance flights. In many countries of the Indian Ocean basin, they appear during the monsoon season. The area of ​​one of the clusters of migratory dragonflies, according to the observer’s report, was 32 square kilometers.

The authors of the study plan to track the flight routes of Pantala flavescens , but have not yet figured out how to do this. The current technology used to track migratory animals is too large for such small insects.

Research published in the electronic scientific journal PLOS ONE.

90,000 Not only dinosaurs: Ten fossil giants that we won’t see

• Nick Fleming
• BBC Earth

November 20, 2015

Photo author, Walter Mayers SPL

Caption,

Imperial Sarcosuchus could have eaten small dinosaurs

In the distant past, many of the organisms that inhabited the Earth were much larger than today’s animals.There were both monstrous milipedes and giant sharks. Parade of Giants presented by correspondent

BBC Earth .

The heaviest animal that ever lived on Earth is the blue whale, weighing more than 150 tons. As far as we know, no living organism in history has had a similar mass. But some creatures could boast of larger sizes.

Dinosaurs enjoy, perhaps, undeservedly scrutiny of the public, because in addition to them, many other animals of huge sizes lived on Earth, which we will never have a chance to see in the flesh.

Some of them are the giant ancestors of living creatures, while others left no offspring, and therefore seem especially amazing.

The remains of prehistoric giants can shed light on the gradual changes in the conditions of life on Earth, since the size of animals is often directly dependent on the environment.

In addition, there is something mesmerizing about the extinct giants, the appearance of which we can only imagine.

We offer our readers ten of the most amazing creatures that we are no longer destined to meet in wildlife.

Aegirocassis benmoulae

Photo author, Marianne CollinsArtofFact

Photo caption,

Aegirocassida filtered seawater, absorbing plankton

How would the love fruit of a whale and a lobster look like? If such a creature existed in the world, it is possible that it would resemble aegyrokassida.

This two-meter long prehistoric shrimp lived on Earth about 480 million years ago. She belonged to the now extinct genus Anomalokaris.

The animal looked like a space alien. With the help of reticular processes on the head, it squeezed out plankton from the sea water.

Life of aegyrokassids fell on the period of growth of species diversity of plankton. As a result, these animals did not compete in search of food for most other anomalokaris – carnivorous predators with sharp teeth.

It is possible that aegyrokassida will help us find out how the limbs of arthropods, represented by modern spiders, insects and crustaceans, developed.

Photo author, Peter Van Roy Yale University

Photo caption,

Studying the fossilized remains of the Aegirocassid, scientists came to the conclusion that it had paired blades

Until recently, based on the finds of incompletely preserved fossils, scientists believed that anomalocaris had only one pair of flexible lateral lobes for each segment of the body. However, analysis of the remains of the Aegirocassida indicates that each segment of these creatures had two pairs of blades used for swimming.

The authors of the scientific work, published in March 2015 in the journal Nature, argue that the paired lobes of aegyrokassid correspond to the upper and lower limbs of modern arthropods.

Scientists once again studied the previously found fossils of other species of the genus anomalocaris and came to the conclusion that they also had paired lobes. They came to the conclusion that in some species, in the process of evolution, the fusion of the blades occurred.

This prompted scientists to conclude that the anomalocaris were prehistoric arthropods.This idea has previously been criticized due to the strange body structure of representatives of this genus.

Until 1985, paleontologists believed that the shoots on the heads of the anomalocaris were shrimps, their mouth appendages covered with teeth belonged to jellyfish, and their bodies to sea cucumbers.

Crayfish (Jaekelopterus rhenaniae)

Photo author, Jaime Chirinos SPL

Photo caption,

This is probably how the prehistoric crayfish looked like

Crayfish – the most terrible nightmare of an arachnophobic pathologist.This giant, 2.5 meters long, claims to be the largest arthropod ever to inhabit the Earth.

In English, the creature is known as the “sea scorpion”.

This name is inaccurate. Racosorpion was not a scorpion in the literal sense of the word, and it was most likely found not at the bottom of the seas, but in rivers and lakes. He lived about 390 million years ago and ate fish.

This species was first described in 2008: in a quarry near the German city of Prüm, a fossilized claw 46 cm long was found – all that remained of the animal.However, the ratio between the size of the claw and the whole body in crustaceans is very constant, so the researchers concluded that J. rhenaniae reached a length of 233 to 259 cm.

This find is further evidence that prehistoric crustaceans were very large.

No one really knows why crustaceans grew to such gigantic proportions.

Some scientists suggest that the clue lies in the composition of the Earth’s atmosphere: in some periods of the past, the level of oxygen in it was much higher than it is now.

Others point to a relatively small variety of vertebrate predators, including fish, then living.

Arthropleura

Photo author, Getty

Photo caption,

Modern centipede fits in the palm of your hand; now imagine the same 2.6 m long – it will be a kind of arthropleura

Another contender for the title of the largest arthropod in history – the arthropleura from the genus of milipedes, reaching 2.6 m in length.

Arthropleura lived in the period from 340 to 280 million years ago and it is possible that they owed their gigantic size to the high oxygen content in the atmosphere.

No one has yet managed to find the entire petrified arthropleura. Fragments of skeletons up to 90 cm in length have been found in southwestern Germany, and traces that scientists believe were left by these millipedes have been found in Scotland, the United States and Canada.

Researchers believe that the trunk of the arthropleura consisted of about 30 segments covered from above and from the sides with protective plates.

Since no fossil remains of the jaws of the arthropleura have yet been found, it is difficult to say for sure what it ate.

Paleontologists who studied the fossilized excrement of this creature found fern spores in them, which indicates the likelihood of the presence of plant foods in their diet.

Cinematographers have taken up the popularization of arthropleura – it is mentioned in the popular science series of the BBC “Walking with Monsters” (2005) and “First Life” (2010).

Meganeura

Photo author, Getty

Photo caption,

Imagine a dragonfly-like insect with a wingspan of 65 cm – something like this could be a meganeura

For the first time, gigantism among arthropods was associated with a high content oxygen in the atmosphere in 1880 after the discovery of the remains of a meganeur in France.

These creatures, outwardly similar to dragonflies, lived about 300 million years ago and ate amphibians and insects.

Their wingspan reached 65 cm. We are talking about one of the largest species of flying insects that have ever inhabited the Earth.

Strictly speaking, mega-neuras belonged to the genus of dragonfly insects. They were distinguished from the dragonflies known to us by some features of the structure of the body.

Limits on the size of insects are imposed by the way oxygen is delivered from the air to the internal organs.The role of the lungs is played by the tubular tracheal system.

During the Carboniferous period, 359-299 million years ago, the oxygen content in the air reached at least 35%. Perhaps due to this circumstance, the mega-maneuver was able to extract more energy from the air and retain the ability to fly even as it grew in size.

This same hypothesis explains why mega-neuras did not survive in later periods, when the oxygen content in the air decreased.

Imperial Sarcosuchus (Sarcosuchus imperator)

Photo author, Getty

Caption,

Imperial Sarcosuchus is also called the “supercodile”

In the process of evolution, not only insects were crushed.Paleontologists searching for dinosaur remains in Niger in 1997 were surprised to find fossilized crocodile jaw bones, the length of which was comparable to the height of an adult.

Subsequently, it turned out that scientists have found the best-preserved copy of the imperial sarcosuchus to date – a prehistoric giant crocodile that lived in the deep rivers of northern tropical Africa 110 million years ago.

The animal, which is informally called the supercodile, reached 12 meters in length and weighed about eight tons, that is, it was twice as long and four times heavier than the largest living crocodiles.

It is possible that, in addition to fish, sarcosuchus also ate small dinosaurs.

Its narrow jaws reached 1.8 m in length and were studded with more than a hundred teeth. There was a massive bony outgrowth at the tip of the upper jaw.

Sarcosuchus eyes moved vertically in the eye sockets. Apparently, this monster outwardly resembled the Ghanaian gavial living in India and Nepal, which is listed in the Red Book.

Despite its unofficial name, imperial sarcosuchus was not a direct ancestor of 23 species of modern representatives of the order of crocodiles.He belonged to the extinct family of reptiles – pholidosaurs.

Other, no less large fossils of prehistoric crocodile reptiles, including those belonging to the extinct genus of Deinosuchus, were found.

They were relatives of modern alligators and may have reached a length of 10 meters.

Crocodiles could grow to this size, because they lived mainly in water, which supported their weight – on land this would be impossible.

In addition, the crocodile skull is very strong.Accordingly, the force of compression of the jaws is also great, which allows the reptile to hunt large prey.

Metoposaurus

Photo author, Shalom CC by 3.0

Caption,

The two-meter metoposaurus had a wide flat head with a mouth studded with hundreds of teeth

Prehistoric fish had to fear not only crocodiles. In time immemorial, giant carnivorous amphibians were also found on Earth, outwardly similar to huge salamanders.

Fossilized remains of metoposaurus have been found in Germany, Poland, North America, Africa and India.

Photo author, Shalom CC by 3.0

Photo caption,

Metoposaurus had a very distant relationship to today’s salamanders

Most of the prehistoric species disappeared from the face of the Earth about 201 million years ago. Then many vertebrates became extinct, including large amphibians, which gave dinosaurs the opportunity to establish their dominance on the planet.

Metoposaurus was described in March 2005.Stephen Braschett of the University of Edinburgh and his colleagues. It was named Metoposaurus algarvensis after the Algarve region in southern Portugal where the remains were found.

The two-meter metoposaurus had a broad, flat head with a mouth studded with hundreds of teeth. Small, poorly developed limbs indicate that he did not spend much time on land.

Metoposaurus was the progenitor of modern amphibians such as frogs and newts. Despite its appearance, metoposaurus had a very distant relationship to today’s salamanders.

Megatherium

Photo author, Thinkstock

Caption,

Megatherium are considered the ancestors of modern sloths, armadillos and anteaters

What would a bear and a hamster cross the size of an elephant look like? Possibly megatheria.

This extinct genus of giant sloths lived predominantly in North America between 5 million and 11,000 years ago.

Although smaller than dinosaurs and woolly mammoths, megatheia were some of the largest land animals.Their length reached six meters.

Megatheria were relatives of modern sloths, armadillos and anteaters.

The skeleton of Megatherium was extremely strong. Probably, the animal had great strength, but did not differ in the speed of movement.

Many scientists believe that megatheria used their long forelimbs, equipped with large claws, to pluck foliage from trees and peel bark at a height inaccessible to smaller animals.

However, it has also been suggested that megatheria could eat meat as well.The shape of their ulna suggests the ability to move quickly with their forelimbs. It is possible that the megaterians killed their prey with a wave of their paws.

“Terrible birds” (Phorusrhacidae)

Photo author, Jaime Chirinos SPL

Photo caption,

Flightless birds could swallow a medium-sized dog or a similar animal in one fell swoop

In recent years, scientists have attempted to clone extinct species animals, including the Pyrenean ibex, the marsupial wolf, the wandering pigeon, and even the woolly mammoth.

Let’s hope they don’t think of experimenting with the DNA of the Fororakos family – or, as they are also called, the “terrible birds” of the Crane-like order.

These flightless birds reached three meters in height, ran at speeds up to 50 km / h and could swallow a medium-sized dog in one fell swoop.

Due to its height and long neck, such a “terrible bird” could detect prey at a great distance, and its long, powerful legs allowed them to develop the high speed necessary for hunting.

With their beaks curving downward, the foraracos tore prey in much the same way as modern birds of prey do.

“Terrible Birds” lived between 60 and two million years ago. Most of the fossil remains known to us have been found in South America, and some in North America.

At one time, some scientists argued on the basis of finds in Florida that these birds became extinct only 10,000 years ago, but later it turned out that the age of the found remains is much older.

It is believed that the closest relatives of the foraroconus birds in existence are the Karyamid family living in South America, whose representatives reach 80 cm in height.

Megalodon (Carcharodon megalodon or Carcharocles megalodon)

Photo author, Christian DarkinSPL

Photo caption,

The fossil megalodon was much larger than the modern white shark

You may have heard stories about giant sharks three times long and three times long 30 times heavier than her.Do not worry: such monsters have not existed for a long time.

They are called megalodons, and no one knows exactly how large they really were. Like all sharks, the skeleton of the megalodon consisted of cartilage, not bones, so almost no fossils have survived to our time.

As a result, it is necessary to draw conclusions about the size of this fish only on the basis of the discovered teeth, from which the Greek name of the monsters, which means “huge tooth” in translation, and individual fragments of the vertebrae, comes from.

Photo author, Sally McCrae Kuyper SPL

Photo caption,

Megalodon got its name from giant teeth

According to the latest estimates of scientists, the length of the megalodon was 16-20 m. For comparison, the length of the largest modern fish – the great white shark – does not exceed 12.6 m.

In the giant jaws of the megalodon, there were more than 200 serrated teeth, each up to 18 cm long. The force of compression of the jaws was 11-18 tons – 4-6 times higher than that of a tyrannosaurus.

The assumption that the Megalodon survived to this day was expressed in the movie “Monster Shark: Megalodon Lives”, shown in 2013.on the Discovery channel.

The film has received devastating criticism for the use of falsified video footage and comments from actors posing as scientists.

Real scientists believe that the megalodon lived in the period from 15.9 to 2.6 million years ago. After that, according to a scientific paper published in 2014, whales became the largest inhabitants of the oceans.

Titanoboa cerrejonensis

Photo by Ryan Quick CC by 2.0

Photo caption,

Model of a giant titanoboa snake on display in the Washington Museum

About 60 million years ago, shortly after the extinction of the dinosaurs, a reptile appeared on the planet, the length of which was twice the length of the largest modern snakes.

The length of the Titanoboa snake reached 14.6 meters, and its mass exceeded a ton. The snake was first described in 2009 after the petrified vertebrae and skull of this monster were found in a Colombian coal mine.

Titanoboa is believed to be a distant relative of the anaconda and the boa constrictor. The snake killed its prey by squeezing it with the rings of its body. It is possible that she hunted, including crocodiles.

To survive, snakes need an external source of heat, since they themselves are not able to regulate their own body temperature. Probably, the titanoboa snake reached such an impressive size only because at that time the temperature on Earth was higher.

“The dragonfly no longer sings” – a literary investigation dedicated to the 400th anniversary of La Fontaine

“The dragonfly no longer sings” – a literary investigation dedicated to the 400th anniversary of La Fontaine

Jean La Fontaine is a 17th century French fabulist who translated the works of Aesop and Phaedrus into French.His fables inspired the work of one of the most famous Russian writers – Ivan Krylov.

July 8, 2021 marks the 400th anniversary of the birth of the French writer Jean Lafontaine, whom Alexander Pushkin affectionately dubbed “Vanyusha Lafontaine” in one of his poems. Pushkin, as, indeed, any Russian reader, La Fontaine was known primarily as the creator of the famous fables, many of which later served as a source of inspiration for I. S. Krylov.
Fable is an old genre, it has been known since the days of Aesop and Phaedrus. The semantic halo of the word “fable” is associated both with fables and with didactic instructions. Every self-respecting reader knows that at the end of the fable there must certainly be morality – something like “but things are still there”, “and Vaska listens and eats” and other common truths known to everyone from childhood. At the same time, one of the most famous fabulists in the world was by no means a moralist or a highly moral person. For example, he did not at all disdain to describe his love affairs to his wife in colors, and devoted so little time and attention to family life that he once did not recognize his adult son.The didactic component of his work is also very peculiar: La Fontaine’s fables rather teach the cruel pragmatism of life and speak of the inevitability of vice in it, rather than instill high ideals. Alphonse Lamartine, the famous French romantic poet, called morality in La Fontaine’s fables “the tough, cold and selfish philosophy of an old man,” and VA Zhukovsky did say: “Do not look for morality in his [La Fontaine’s] fables – it is not there!” …

Be that as it may, the witty (albeit a little cruel) everyday stories in verse came to the taste of French society in the 17th century.They were brought to Russian soil by IS Krylov, who in 1805 made his first translations of La Fontaine’s fables – “The Oak and the Cane” and “The Choosy Bride”. We will dwell in more detail on the translation of another fable, perhaps one of the most famous in the works of both writers – “The Dragonfly and the Ant”.
The plot of the Krylov fable “The Dragonfly and the Ant” is close to the original text, but nevertheless has some discrepancies with it, the main of which lies already in the title. Perhaps the dear reader wondered (or at least wondered now) why the dragonfly “sang” all summer long, because dragonflies are not “musical” insects.Although some scholars raise the etymology of the name “dragonfly” to the word “chirp”, most still agree that it comes from the verb “chirp”, that is, “jump”, and has nothing to do with chirp, a kind of “singing” grasshoppers and crickets. In La Fontaine’s original, there is no dragonfly, but there is “la Cigale” – “cicada”, which explains why the heroine sang all summer. V.V. Nabokov, who became famous not only as a scandalous novelist, but also as a completely enthusiastic amateur entomologist, sneered at Krylov, who made the dragonfly sing, and was, generally speaking, not quite right, since in the Krylov times colloquially called the grasshopper.Aesop’s fable, which La Fontaine was guided by when creating his own, is, in general, entitled – “The Grasshopper and the Ant.” This insect, by the way, both “chirps” and “chirps” at the same time, which, probably, plays at Krylov’s – “the jumping dragonfly sang red summer.”

However, Nabokov makes fun of the biological error not only in the Krylov text, but also in its French version – in cicadas, only males chirp, that is, “sing” (few exceptions were not known in the 17th century), while La Fontaine writes about a singing female.However, La Fontaine’s “Ant” is also actually female, he is rather “Ant” – “la Fourmi”. The Russian literary critic S. S. Averintsev notes that gender turmoil also brings a new color to the plot of the fable. Paradoxically, the text of the libertine La Fontaine looks more decent than the poem of Krylov’s grandfather. So, Cicada and Muravyha ​​are in quite concrete relations – they are “voisines”, that is, neighbors. Cicada’s request is decent, she only asks for a loan (and promises a return with interest), and Ant’s refusal is mocking, but not cruel.Krylova’s dragonfly comes with a similar request to a man, Ant, whom she calls “godfather” (which does not mean that they baptized children together, because “godfather” and “gossip” at the beginning of the 19th century may well serve as just a friendly address) … In addition to the fact that she comes to a man who is not her husband or relative (which in itself is indecent in the eyes of society at that time), she also asks him: “Feed and warm.” Her request looks like she wants to become his friend or even a kept woman.Ant’s answer does not seem mocking at all, because he is a man rejecting a woman in trouble – this is a cruel, “monstrous”, in the words of Averintsev, an act for those times.
For the Russian reader, Krylov is not just “one of the fabulists,” he is the only one. Of course, in Russia the fame of La Fontaine cannot be compared with that of Krylov, but the Western reader of that time also admired the Russian fabulist (see “Preface to the publication of Krylov’s fables with French and Italian translations” by Pierre Lemonte). And yet it makes no sense to talk in an evaluative way about the biological inconsistencies in the texts of the two authors, about the degree of decency of these texts and their flirting with the reader.The emotional and semantic coloring of “Dragonfly and the Ant” in Krylov’s translation is changing: didacticism is enhanced due to the greater drama of the situation. Fables are also stylistically different – the uncomplicated plot and the purist language of the Enlightenment of La Fontaine (inherent in the fable narrative as a whole) in Krylov’s arrangement are complemented by an abundance of details and means of artistic expression (“soft grass”, “pure field”, which is “dead”, and so on) … At the same time, it cannot be said that any of the versions of the fable is “worse” or “better”, they are both separate works with their own artistic originality, and each reader chooses what he personally likes.

Ksenia Babenko

90,000 Collections

• SS 2020 Black Dragonfly Tokyo

  • Fashion House TATYANA PARFIONOVA became the first Russian participant of the Rakuten Tokyo Fashion Week.

    Each dress looks like a separate painting, on which the water surface with the sunset rays of the sun reflected in it, water lilies floating on the surface of the water, long dense sedge, ferns, swans and dragonflies with wings transparent like mica are “painted”.

• FW 2019-2020 “Orphism” / Orphism Moscow

  • “Admire the outstanding strength and nobility of the line, she is the voice that the light makes audible” Guillaume Apollinaire

    Dresses like fugues.Fugues in pure color. The beauty of the relationship of color, form and meaning gives birth to light.

    Dress, as an accompaniment, for a dancing and playing girl.

• SS 2019 “Blooming” / Blooming Moscow

  • “Blossom” is a period in the “Fields”.Continuation of the author’s thoughts over a single space, the phenomena occurring in it, connected and comparable in length.

• SS 2019 Blooming Qatar

  • Satin stitch embroidered field, delimited by pearl mesh and seam reliefs on transparent chiffon.Crystalline lace mesh with glass beads grooves. – The principle of superposition is the principle of superposition of fields. The obvious limit is unattainable.

• FW 2018-2019 Rechange St.Petersburg

  • “Change” – a collection about the dialogue between the epochs of two Russian autocrats: Elizabeth I and Catherine II. Two fashion dictators, who divided the idea of ​​fashion in Russian into two temporary and visual cultures, based primarily on the period of their reign, absolutist in both cases.

    Change of dress, change of favorite, change of fashion.

• SS 2018 Fields St.Petersburg

  • FIELDS ́ is a space of 21 evening dresses, created in the typical couture traditions of the House. Fields of embroidered irises inlaid with sequins, motifs of flora and fauna blossoming with silk thread, which have become a distinctive feature of Tatyana Parfenova’s products, full of the energy of hand sewing and freedom of artistic thought.

• FW 2016-2017 The Swan Fairytales St.Petersburg

  • Each dress is a special character, with its own history and mood, combining myriads of plots and images of a swan: ornaments and curly stitching, the originality of the Renaissance and early Baroque. Mother-of-pearl velvet with shades of the setting sun, monochrome painting on snow-white cotton that turned arabesques into canvases from Raphael’s Loggias.

• SS 2016 “Jabot” / Jabot St.Petersburg

  • The “Jabo” collection was inspired by national traditions, which were symbolically embodied in the monuments of architecture and art in the summer imperial residence of Tsarskoye Selo.

• SS 2016 The Love for Oranges St.Petersburg

  • Collection demi-couture

    The collection continues the New Chinoiserie theme, started in the Qigong collection (summer 2015). “Love for Oranges” consists of twenty looks: evening dresses and suits. Silk products are processed with branded seams outward – a constructive invention of Tatyana Parfyonova (1995).

• FW 2015-2016 Qigun St.Petersburg

  • The Qigong Haute Couture collection is a New Chinoiserie. Synthesis of the art of Henri Matisse and the European view of traditional China. The collection consists of over 70 items: silk and cotton suits, quilted shantung taffeta jackets, inlaid trousers, hand-embroidered silk taffeta stoles, silk dresses from the Chengdu Museum, printed silk coats, hats.

• O Line

  TATYANA PARFIONOVA – haute couture line, which presents unique items made by hand from high quality materials from the world’s best manufacturers. This line is the main one and determines the development trends of all directions of the Fashion House.		Each of the collections has its own bright character and is dedicated to a specific theme. A recognizable feature of the couture line is the embroidery on the theme of flora and fauna, which are created by the masters of the Fashion House according to the artist’s sketches.

• SS 2015 Love confession St.Petersburg

  • Collection demi-couture

    “The world consists of life-affirming symbols. It rests on seven elephants that represent stability and strength. The monkey is a symbol of art. The blue bird – happiness and good luck – walks in the orchid garden, symbolizing beauty and perfection. Butterflies are light souls. The flight of bees gives rise to the music of an ideal world. ”

    T. Parfyonova

Previous collections Tatyana Parfionova

• 2016

  “Jabot by Parfionova”, “Swan Stories”

• 2015

  “Qigong”, “Love for Oranges”

• 2014

  “I was born a gardener!”, “Rose Island” ,
  “Confession (in love)”

• 2013

  “Squeaky House”, “Chinese Opera”

• 2012

  “12th Night”, “Russian Empire”, “Luxury Village”, “Tsarskoe Selo “

• 2011

  ” City of N-sk and Gus-Khrustalny “,” Freilinsky Garden “

• 2010

  ” Pictures and Dresses “,” Monica “

• 2009

  ” Crow “, “Matilda”

• 2008

  “Female name”, “Squirrel”

• 2007

  “Beauty”, “Mot”, “Cephea”

• 2006

  “Pannochka”, “Restoration” , Mamele

• 2005

  Attaching

• 2004 9 0003

  “Holiday”, “For the ideal girl”

• 2003

  “New Grunge”

• 2002

  “Veratrek”, “Colorist”

• 2001

  “Rose and Rose”, ” Fly “,” 2002 “

• 2000

  ” Love for flowers “1 and 2 (four seasons),” Rose “

• 1999

  ” City details “,” Usurpatka “,” Other “,” Tourmaline ”

• 1998

  “ Stepanida ”1 and 2 (four seasons),“ Demonstration ”

• 1997

  “ Guard ”,“ White gazebo ”,“ Chinese walked around the yards ”

• 1996

  “Mount Marata”, “Lelya, Lyalya, Lucy”

• 1995

  Safron

Photos of collections from archive
are available on special request

90,000 The specifics of the refraction of the tradition of the family novel in O.Slavnikova Text of the scientific article in the specialty “Linguistics and Literary Studies”

Philology

Bulletin of the Nizhny Novgorod University. N.I. Lobachevsky, 2016, No. 1, p. 205-209

UDC 801.73

SPECIFICITY OF REFRECTING THE TRADITION OF A FAMILY NOVEL IN THE “DRAGONFLY EXTENDED TO THE SIZE OF A DOG” O. SLAVNIKOVA

© 2016A. T. Dzhioeva

Mordovia State University. N.P. Ogareva, Saransk

AGT. dzhioeva @ mail. t

Received August 28, 2015

Using comparative historical and holistic methods of analysis of a literary work. It has been established that, creating a family novel in genre, O.Slavnikova rethinks the chronotopic relations of the family novel: the “idyllic chronotope” is replaced by the space of the House, which is becoming a symbol of destruction and total loneliness. In “Dragonfly Enlarged to the Size of a Dog” the very concept of the family is modified: the novel depicts a type of “female family” whose members have become victims of dark historical (the era of repression) and personal (the trauma of losing a father) circumstances.

Keywords: genre, chronotope, tradition, family novel, O.Slavnikov.

The novel “Dragonfly Enlarged to the Size of a Dog” (1996), which was included in the Booker Prize’s shogt-list, was in fact the beginning of OA Slavnikova’s literary career. It was in it that the most important themes and motives were outlined, which will become decisive for her subsequent work: the themes of family, death, madness, borderline states of human existence; motives of loneliness, rock, a fateful coincidence that changes the lives of the main characters.In the center of the narrative is the novel, which in the genre can be described as a “family saga” Mukhina [1, 2]), – the story of life and difficult, disharmonious relationships between mother and daughter, “colored with ambivalent feelings of“ love-hate ”, strong mutual affection and a hopeless desire to overcome it” [3, p. 65]. The genre of the family novel in Dragonfly… ”noticeably expands, acquiring one of the most important features – historicism; the chronicle of the family, the lives of the heroes are not limited by the framework of contemporary events for the author.

M.M. Bakhtin, highlighting the “essential” features of a family romance, pointed to the “idyll” as the “core” of this kind of novel genre: “The family of a family romance, of course, is no longer an idyllic family. It is cut off from the narrow feudal locality, from the unchanging natural environment that nourished it in the idyll <...>. The idyllic unity of the place <...> is limited to the family-clan city house

<...>. But this unity of place in a family romance is far from necessary. Moreover, the separation of the life span from a certain and limited spatial locality, the wandering of the main characters before they acquire a family and financial position, is an essential feature of the classic type of family romance ”[4, p. 478-479]. According to Bakhtin, the most important properties of a family romance are the hero’s acquiring (or creating) strong family ties, defining himself in a world limited to “a certain place and a certain narrow circle of relatives, that is, the family circle” [4, p.479]. The hero in a family novel is initially, as a rule, “homeless” and “rootless”, wandering “among strangers”, but these wanderings lead him to the world of family basis is restored <...> love, marriage, childbearing, quiet old age of acquired parents, family meals ”[4, p. 479]. In “Dragonfly Enlarged to the Size of a Dog”, on the contrary, there is no happy finding of a family, and a once happy family is destroyed not only by “external” circumstances, but due to the total misunderstanding of the heroines (mother and daughter) of each other.

In fact, this is a story about the “female” type of family, the family of hereditary provincial teachers, over whom loneliness gravitates for more than one hundred and twenty years: husbands do not take root here, boys are not born: “That was a family of hereditary teachers, ver-

her, teachers, because husbands and fathers very soon disappeared somewhere, and women gave birth exclusively to girls, and only one at a time.The family lived in the provinces and were provincial ”[5, p. 26]. The women themselves live in an artificial world that is separate from the “real” life. It is in this local space that the events of the novel unfold. As S. Belyakov rightly points out, “Dragonfly …” is “the story of the degeneration and death of one intelligent family” [6]. M. Remizova also notes that this is “the story of a family – first mothers, then daughters (interrupting each other, intertwining, replete with flashbacks) – a story of mutual misunderstanding and dislike and at the same time an inextricable connection, latent interaction and reflection, where the internal state of one, manifested in an external act, never finds an adequate response in another, but only multiplies an endless series of mutual grievances and bewilderments ”[7].

The relationship between mother and daughter, depicted in “Dragonfly.” The mother suppresses her daughter, does not give her freedom, constantly dictates her conditions. She indicates what to do, with whom to communicate, where to walk, that is, she completely controls the personal life of Katerina Ivanovna, and, in fact, the heroines, relatives of each other, cannot exist together.

As you know, a family romance is characterized by “isolation” and “narrowing the scope of what is happening to one or two families” [8, p. 198]. In “Dragonfly.” the action really unfolds around one incomplete family, mother and daughter, living without men, forced to coexist together, in fact, in a closed, in the local space of a small apartment: “Thus, their mutual lack of freedom, incredible closeness, when mother and daughter all the time interfered with one another and simply could not help but pay attention to each other.Later it got to the point that while one was doing something in the room, the other waited, sitting completely motionless and as if trying to disappear altogether, not to breathe – as if the room was incredibly cramped, as if two of them literally could not turn around in it ”[5 , with. 38]. The life of Sofya Andreevna, who taught literature and still “lived in the nineteenth century” [5, p. 27], from early childhood, as it were, divided into two unequal parts: before and after the arrest of her father. The execution of the father, the isolation of the family of the “enemy of the people”

defines the general atmosphere of the house – separation and total loneliness.Little Sophia is taken care of only formally, the girl turns out to be emotionally devastated, concealing in her memory a “sickening horror” about her father, a sense of danger associated with unreliable books. She had no friends, except for Ko-mariha, who imposed her own society on her own. Sofya Andreevna loved loneliness. Her daughter, like her mother, grew up unsociable; she was bullied at school because she was a teacher’s daughter.

There was a “strange” relationship between mother and daughter.They could not live happily together, but they also did not imagine their lives separately. The novel tells in detail how mutual grievances accumulate, which will haunt the heroines all their lives. The mother carefully preserves and cherishes them until the end of her life, they are her compensation for suffering that no one can ever understand or appreciate. The daughter, in turn, feels guilty before her mother, but, not wanting to ask her forgiveness, she withdraws into herself.

The framework of the story of the unhappy life of a mother and daughter is often expanded through flashbacks: the narrator pushes the time boundaries of the “idyllic” chronotope of a family novel and shifts the narrative many years ahead when the mother is discharged from the hospital to die.Oddly enough, but it was at this time that Katerina Ivanovna realizes that she never “loved her mother, but her mother was the only thing that she really had in life” [5, p. 160]. After that, the narration returns to the days of Katerina Ivanovna’s youth: “An adult sleepy daughter disappointed Sofya Andreevna <...> she perceived her daughter’s loneliness as her misfortune” [5, p. 298]. Katerina had no one, the male gender remained a mystery to her, she did not know what kind of creatures they were and how to behave with them.All this is because there were absolutely no men in their family. “For a very long time and for a long time, not less than one hundred and twenty years, men did not die their death in the bosom of this family, but disappeared as they were, not having time to change during the hours of arrest or departure <...> the underworld lying in a ring around the town , never returned their husbands and fathers to them, and any news that could still be conveyed literally referred to the past, just like their own memories, which were strangely simplified over the years. A photograph on the wall became my husband ”[5, p.285]. “Men did not die in the family, but their things remained and were kept, as if from the dead” [5, p. 289]. Throughout the entire storyline –

reversals, as we have already noted, plot time expands: from the present time, readers are transported into the past and vice versa. In addition, the writer uses the principle of counterpoint – a rapid change in perspective. For example, developing the biography of Sofya Andreevna so that the heroine fits well into a number of typical “little people” of Russian literature, the writer suddenly introduces an episode discordant with the life story of the heroine with honorary certificates discarded, demonstrating the splitting of Sofya Andreevna’s soul, her cultivation of that dark beginning, which once destroyed the happiness of her family.

The motive of loneliness becomes the key both in “Dragonfly …” and in the subsequent novels of O. Slavnikova: practically all the heroines of the writer are unhappy, these are women-failures with crippled fates, “superfluous” who have not found a place in life. They are doomed to daily painful coexistence with their own kind. Sofya Andreevna and Katerina Ivanovna are simultaneously similar and dissimilar to each other: “Both, mother and daughter, were tall, large, heavy-faced, with male noses, with tender, close-set eyes, with an abundance of brown, black, pink moles; <...> Sometimes their similarities were blurred for several years, but inevitably reappeared. Katerina Ivanovna, because she was catching up with her mother, all the time seemed older and more respectable than her own age ”[5, p. fourteen]. The novel constantly emphasizes their similarity: they are equally unsociable, lonely and, in the end, equally unhappy. The daughter from early childhood repeated everything after her mother, and “the features of Katerina Ivanovna obediently followed her features all her life” [5, p. fourteen]. Realizing that her daughter was not like her, “Sofya Andreevna experienced real fear – the eternal horror of the original before the copy, similar to the fear of death” [5, p.92].

Special role in “Dragonfly.” plays the space designed by the writer, which is divided into, relatively speaking, “external” and “internal”. The “external” space in the novel is a kind of universal provincial city, which is absolutely no different from hundreds of other cities of the same kind in Russia. It gradually grew, developed, “acquired a capital economy like a circus and a metro <...> multi-storey buildings were built in the streets and carried on the roofs according to a word from giant inscriptions <.> Wide streets and squares arose on the site of destroyed and bulldozed slums into plank heaps of rotten slums, the scraped-off place was covered with asphalt and concrete slabs. ” [5, p. 26]. However,

the main characters do not notice and do not want to know this external development, because they exist in a different space and time. The “internal” space was fundamentally different from the outside: “Their city, where they existed on their own, did not develop or grow, on the contrary, it became more and more provincial.Fashion did not reach here, expensive household appliances did not get, here two curly-haired boys – Pushkin and Volodya Ulyanov – sat in different pictures in the same way, propping their thick cheeks with their fists, and were considered something like relatives ”[5, p. 27].

As a result, the “inner” space in which Sofya Andreevna and Katerina Ivanovna existed, narrows down to the framework of one apartment, where the tragedy of everyday life unfolds in a closed world. In this regard, we emphasize that the locus of the House plays a special role in the system of chronotopic relations of the novel: the house, which was unkindly changed in Sofia Andreevna’s childhood by the intervention of strangers, external forces, is, as it were, closed off from any changes and any intrusions from the outside.Note, however, that unlike other family romances, where the house becomes a symbol of family unity, a locus uniting heroes belonging to the same family, here the House does not perform such functions. In the House of Sophia Andreevna and Katerina, nothing changes, it is only replenished with elements that are not connected with the outside world (drawings by the mother and embroidery by the grandmother) and, as a result, takes on ominous outlines, turning into a symbol of loneliness and stopped time. In addition, the space of the House (apartment) symbolically marks the transition from being to non-being.

As well as space, time in “Dragonfly …” is represented by two layers: internal and external. It doesn’t matter what happened to the external time, the heroines disposed of their internal time themselves, this explains the constant leaps from one memory to another and from the present time to the past. The external time in the novel is linear – the Soviet reality in its various decades is clearly guessed: the narrative is full of descriptions of subbotniks, which must be attended by all workers (“This happened in the spring, during a subbotnik.The department was assigned a section of the street for maintenance and cleaning, surprisingly unpleasant and deaf under heels <...> no one liked Subbotniks … “[5, p. 345]), mentions of the KGB (“they began to whisper that Margarita was knocking at the KGB, as if she was seen under the iron door of a special department, where she was trampled underfoot, thrusting her head into a square window”

[5, p. 344]), repressions (“Sofya Andreevna remembered how, on a hot, tangerine, shiny New Year’s night, four came for her father” [5, p.289]). Obviously, the local space of a family romance is expanding due to the inclusion of a historical (Soviet) context (by the way, the rapid disappearance of men in this “female” family is not only the result of internal relationships, but also a tragic sign of the era).

Let us also note some of the key stylistic features of the novel. First of all, this is the use of the technique of improperly direct speech, necessary for the transmission of “words, thoughts, feelings, perception or only the semantic position of one of the characters depicted, and the transmission of the character’s text is not marked with either graphic signs (or their equivalents) or introductory words ( or their equivalents) ”[9, p.125]. In “Dragonfly.” this technique is used not only in a single passage, but throughout the entire story. There is not a single dialogue in the entire work, and a narrator tells the story of a small family. The narrator in “Dragonfly.” can, in the terminology of W. Schmid, be called an “uninvolved narrator”. Indeed, the narrator only describes the events taking place with the mother and daughter, but does not participate in these events in any way, does not play any role in them. All inner experiences, descriptions, reflections are conveyed not by the characters themselves, but by the narrator, who plays the role of a neutral observer: “In Dragonfly, the inner life is depicted not through the characters’ own statements, not by recreating (in any technique) their“ streams of consciousness ”, but by walking directly from the author by reasoning or figurative constructions, projections of mental states, which should form a picture of the personality ”[10].This stylistic manner is by no means accidental, it is it that allows you to convey with maximum accuracy the lack of full-fledged communication between mother and daughter: heroines who are connected by family ties, at first glance, are the closest relatives, never speak to each other. “Sounding” them is carried out by the narrator. Sofya Andreevna does not tell her daughter anything about her father, and with age, ignorance turns into unwillingness to know, thus, the connection between generations in the family is completely destroyed.

So, creating a family novel in terms of genre, O.Slavnikova, several pere-

comprehends, firstly, the chronotopic relations of the family novel: the “idyllic chronotope” is replaced by the space of the House, which becomes a symbol of destruction and total loneliness. Secondly, the very concept of the family is being modified: the novel depicts a type of “female family” whose members have become victims of dark historical (the era of repression) and personal (the trauma of losing their father) circumstances, and therefore they are implicitly convinced that their fate is to remain lonely.Family romance genre in “Dragonfly.” expands markedly, acquiring one of the main features – historicism; the chronicle of the family, the lives of the heroes is not limited by the framework of contemporary events for the author. In fact, O. Slavnikova’s novel reflects the process of transformation of the modern family novel into the genre of the “family saga”, thanks to the inclusion of the historical context, social pathos, and the definition of the socio-historical component of the characters’ destinies.

References

1.Osmukhina O.Yu. Russian literature through the prism of identity: a mask as a form of author’s representation in prose of the 20th century. Saransk: Publishing house of Mordovs. University, 2009.286 p.

2. Osmukhina O.Yu. The specificity of the embodiment of the theme of the genus in Russian prose at the turn of the XX-XXI centuries. // Bulletin of the Nizhny Novgorod University. N.I. Lobachevsky. 2015. No. 1. S. 286-289.

3. Pavlova N.M. The mother-daughter metasuet of Russian women’s prose // Izvestia of the Saratov University.2013. T. 13. Iss. 3. Philology. Journalism. S. 64-69.

4. Bakhtin M.M. Sobr. Op. T. 3: Theory of the novel (1930-1960). Moscow: Languages ​​of Slavic Cultures, 2012.880 p.

5. Slavnikova O.A. Dragonfly Enlarged to the Size of a Dog: Novel. M .: AST: Astrel, 2001.571 p.

6. Belyakov S.N. Still life with a stone [Electronic resource] // Banner.2006. No. 12. Access mode: http://www.ng.ru/culture/2001-08-15 / 7_sand.html

7. Remizova M.A. Detail enlarged to the size of a novel [Electronic resource] // Nezavisimaya gazeta. 1999. No. 244. Access mode: http: // www.ng.ru/culture/1999-12-29/7_detail .html.

8. Sipovsky V.V. History of New Russian Literature of the 19th Century (Pushkin, Gogol, Belinsky). 4th edition, rev. Moscow: Narodnaya Slovesnost, 1913.XIV. 256 p.

9. Amusin M.A. Let’s see who came [Electronic resource] // Banner. 2008. No. 2. Access mode: http://magazines.russ.ru/znamia/2008/2/am14.html

10. Schmid V. Narratology. M .: Languages ​​of Slavic culture, 2003.312 p.

SPECIFIC FEATURES OF INTERPRETING THE TRADITION OF THE FAMILY NOVEL IN “THE DRAGONFLY ENLARGED TO THE SIZE OF A DOG”

BY O.SLAVNIKOVA

A. T. Dzhioeva

The article presents an analysis of the specific features of interpreting the tradition of the family novel in “The Dragonfly Enlarged to the Size of a Dog” by O.Slavnikova. The comparative-historical and holistic methods were used in the analysis of this literary work. It was found that O. Slavnikova, while creating a family novel in terms of genre, reinvents the chronotopical relationships of the family novel: “the idyllic chronotope” is replaced by the space of the Home that becomes a symbol of destruction and total solitude.The very concept of the family changes in “The Dragonfly Enlarged to the Size of a Dog”: the novel depicts the type of a “female family” whose members became victims of the darkest historical (the era of repressions) and personal (the trauma of losing one’s father) circumstances.

Keywords: genre, chronotope, tradition, family novel, O. Slavnikova.

References

1.Os’muhina O.Yu. Russkaya literatura skvoz ‘priz-mu identichnosti: maska ​​kak forma avtorskoj reprezenta-cii v proze XX stoletiya. Saransk: Izd-vo Mordov. un-ta, 2009.286 s.

2. Os’muhina O.Yu. Specifika voploshcheniya temy roda v otechestvennoj proze rubezha XX-XXI vv. // Vestnik Nizhegorodskogo universiteta im. N.I. Loba-chevskogo. 2015. No. 1. S. 286-289.

3. Pavlova N.M. Materinsko-dochernij metasyuzhet russkoj zhenskoj prozy // Izvestiya Saratovskogo universite-ta.2013. T. 13. Vyp. 3. Filologiya. Zhurnalistika. S. 64-69.

4. Bahtin M.M. Sobr. soch. T. 3: Teoriya romana (1930-1960 gg.). M .: Yazyki slavyanskih kul’tur, 2012.880 s.

5. Slavnikova O.A. Strekoza, uvelichennaya do raz-merov sobaki: Roman. M .: AST: Astrel ‘, 2001.571 s.

6. Belyakov S.N. Natyurmort s kamnem [Ehlektron-nyj resurs] // Znamya.2006. No. 12. Rezhim dostupa: http://www.ng.ru/culture/2001-08-15 / 7_sand.html

7. Remizova M.A. Detal ‘, uvelichennaya do razme-rov romana [Ehlektronnyj resurs] // Nezavisimaya gazeta. 1999. No. 244. Rezhim dostupa: http: // www.ng.ru/culture/1999-12-29/7_detail .html.

8. Sipovskij V.V. Istoriya novoj russkoj literatury XIX stoletiya (Pushkin, Gogol ‘, Belinskij). Izd-e 4-e, ispr. M.: Narodnaya slovesnost ‘, 1913. XIV. 256 s.

9. Amusin M.A. Posmotrim, kto prishel [Ehlektronnyj resurs] // Znamya. 2008. No. 2. Rezhim dostupa: http://magazines.russ.ru/znamia/2008/2/am14.html

10. Shmid V. Narratologiya. M .: Yazyki slavyan-skoj kul’tury, 2003.312 s.

90,000 MAMM and SR – Education – The beauty of things. Style, time, era.

In the classroom, children will learn the names of the masters of furniture, metal, costume, modern designers and fashion designers who created time and style with their own hands. The guys will become little experts in such a fashionable art business now.
The course is intended for children 11-16 years old.

Program of the course “The beauty of things. Style, time, era. ”

(history of arts and crafts and design)

(for schoolchildren 11-16 years old)

(30 lessons)

The world of things that surround a person is full of secrets and stories.Each piece reflects the time, tastes and mood of the era. Things keep the warmth of the hands and the breath of people who lived many years ago. The arrangement of folds on a dress, armchair or small cup can tell a lot about time and style.

Knowledge of the history of costume, jewelry or porcelain helps experts determine the time of creation of a work, that is, to carry out attribution.

In our course, we will try to teach children to understand this variety of objects that surround people in paintings, to smell the smell of time, to understand what people were thinking then, how they behaved.
And most importantly, through a thing, to understand what STYLE is. We learn the names of the masters of furniture, metal, costume, modern designers and fashion designers who created time and style with their own hands. Children will become little experts in such a fashionable art business now.

Topic 1. Why does a person need beauty? (2 lessons).

What is decorative and applied and folk art. What is design? What is their difference. The role of the material (ceramics, wood, metal, glass).Ornament in art of different times and peoples, types of ornament.

Practical work. Approximate topics: “ Laws of the construction of an ornament.” “Backgroundless ornament”. “Ornaments of different times and peoples”

Topic 2. Ceramics (7 lessons).

Primitive ceramics, the first ornaments and patterns. The emergence of pottery. Antique ceramics. Styles of antique vase painting. Manufacturing and decoration technology.Ornaments and plots. Etruscan “black” ceramics . What is faience and majolica. Faience in Europe and Russia. The heyday of majolica during the Renaissance. Majolica Art Nouveau. Rural Clays by Bernard Palissy. The secret of the invention of porcelain. The penetration of porcelain into Europe. The invention of porcelain in Europe (Wedgwood, Sevres, Meissen). Rococo style in porcelain and “china”. Guryev porcelain service. Russian Empire style. Abramtsevo workshops. M. Vrubel. What is a Russian tile? (Churches of Yaroslavl). Decoration of buildings and interiors of the Art Nouveau era with glazed ceramics.Folk clay toy. Soviet “propaganda” porcelain.

Practical work. Approximate Topics: “How Ancient People Sculpted”. “Antique vase painting”. “Dish based on B. Palissi.” “Russian tile”. “Folk clay toy (we study various crafts)”. “Painting on ceramics”.

Topic 3. Wood. (6 lessons).

Riddles of walls and windows. Wood carving. The world of the Russian hut. Carved platbands and frontal boards.The interior of the Russian hut: carved spinning wheels, household utensils. Beregini, lions, fabulous birds. Bogorodsk toy. Painting on wood. Gorodetsk donets. Painted furniture: spinning wheels, supplies, sleighs, cradles, chests. Russian doll. Fabulous flowers of golden Khokhloma. Lacquer miniature. Palekh, Kholui, Fedoskino. Birch bark, birch bark products, history, technology. What appeared before – a table or a chair? The art of furniture. Furniture by André-Charles Boulle. Baroque style. What is intarsia. Interiors of Versailles.

Practical work. Approximate themes: “Russian folk painting on wood (we study various crafts”). “Landscape with a Russian hut”. “I am a furniture designer (furniture sketches)”. “Non-traditional methods of working with wood (we study modern decorating techniques)”.

Topic 4. Metal (4 lessons)

How do you work with metal? Forging, blacksmithing, chasing, enameling, casting, filigree, metal painting. Jewelry art of Ancient Egypt. What decoration were worn by the pharaohs and queens of ancient Egypt.Gold of the Scythians. “Animal style”. The history of the samovar. Smooth curves of Art Nouveau grilles. Rene Lalique is a luminary of jewelry art. Flowers and dragonflies Rene Lalique. Jewelry art of Carl Faberge.

Practical work. Sample Topics: “Jewelry Art of Ancient Egypt”. “Studying the animal style and creating a composition.” “Still life with a samovar”. “Ornament of Art Nouveau”. “Sketch of a jewelry piece based on the art of Rene Lalique”. Faberge Easter eggs.

Topic 5.Weaving. (5 lessons)

History of the origin of weaving. The emergence of the loom. Types of fabric processing: printed cloth, embroidery, lace, painting, batik, patchwork. Russian folk costume, Russian folk embroidery – towels, tablecloths, etc. Medieval tapestries on the walls of knightly castles. Tapestries of the Pre-Raphaelites of the 19th century. Folk rag doll. Fashion and fabrics of the Baroque, Rococo era. Cashmere kolokoltsovka shawls of the Empire era.

Practical work. Approximate themes: “Painting on fabric. Techniques and techniques. ” “Traditional Russian doll – amulet”. “Still life with Russian folk embroidery.” “Russian folk costume”.

Topic 6. Glass (6 lessons).

“The Mystery of the Island of Murano”. Ancient Roman and Venetian glass of the 16-17 centuries. Amazing art of mosaic. What is smalta? (Byzantium, Kievan Rus) M.V. Lomonosov and his “mosaic business”. Stained glass windows of Gothic cathedrals. Revival of stained glass art in the modern era.Stained glass windows in the interiors of mansions from this period. Burne Jones stained glass. Louis Tiffany.